Writing Music History in Austria and in Taiwan: Some Preliminary Observations

Abstract

The problem of cultural identity is reflected in the music historiography, and significant parallels can be drawn between Austria and Taiwan. When ”Musikgeschichte Osterreichs” 'Music History of Austria' appeared in 1977-79, it had to break away from a tradition of nationalistic search for the ”Austrianness” in music, first in differentiation from (end of the monarchy in 1918), then in unification with the Germans (towards the ”Anschluss” of 1938). Afterwards, it was caught in the Cold War dilemma of either monopolizing the music tradition of Central Europe or breaking ties with the neighbors. But the final decision of not looking over the border was criticized by Carl Dahlhaus, who doubts altogether whether a music history of Austria confined to the present border can do justice to all historical and aesthetic circumstances. While the music historiography of Taiwan is not so troubled by intricate territories and histories like Austria, it also struggles no less with a complicated cultural identity. A 2003 ”Taiwan yinyueshih” 'Music History of Taiwan' attempts to reconstitute the suppressed music of the Aborigines (now only about 2% of the population) as expression of a new identity and solidarity, but it also turns half of the book into more an ”Introduction to Taiwanese Aboriginal Music” than a ”History of Music in Taiwan.” Solidarity on two levels are needed: musically, a more sensitive incorporation of emic viewpoints in assessing Aboriginal music, as well as a more sympathetic coverage of Chinese traditional music (however tainted by pro-Chinese sentiment) and especially Western music (now musical ”mother tongue” of many); scholarly, a closer integration of international research.